Seated torso of nude female; sketches of heads at lower left
Multiple images of dancing nude females
Nude females, head, feet seated at drawing board
Four sketches of female hands, torso and head
Head, backview and torso of nude female
Sideview of seated clothed male
Multiple sketches of nude females with single back view
Front and back bust sketches of females
Bust of nude female in red pencil
Graphite sketch of the bust of a nude female in red pencil.
Clothed bust of female with eyes shut
Side view of female bust with smaller image at right
Lower half of nude figure, legs on pillows and blankets
Back view of seated nude female
Three quarter view of standing nude female
Black image with nude female reclining in white
Standing nude female holding onto chair
Torso of nude woman within a sketched square
Torso and head of full figured female
Back view of woman de-robing with sketch of hand on right side of paper
Back view of woman de-robing; sketch of hand on right side of paper
Upper half of female figure wearing a large brimmed hat
Upper half of Young Girl standing next to flowering foliage
Upper half of female nude with curly hair and headdress
Seated female in dancing shoes and dress
Sketches female head, multiple resting females and male head
Homage to Construction Worker's Wife
SAUNDERS, Raymond Jenning
Only in Our Imaginary Gazebo Did We Forget the Great Soviet...
Print in black and red of three disembodied heads strung on a rope. At lower right, signed and dated.
Estate of Frances Garvin and Keith Julius Puccinelli
Black and white wood engraving of a reclining nude female with text throughout upper half of print.
Animal from Les Reincarnations de Pere Ubu
Black and white aquatint of a large reptilian like figure extended along top of page.
Twisted Cat from the Artists for Obama 2008 portfolio
One color lithograph on Hahnemuhle German Etching paper, 13/150
One color lithograph on paper, lower left, edition statement 13/150, signed and dated by the artist; lower right, Gemini stamp with copyright
Moths and Peonies from the Artists for Obama 2012 portfolio
Color photogravure on Hahnemuhle Copperplate Bright White paper, 44/150
Two color photogravure on paper with moth like shapes and peonies; lower left, edition statement 44/150; lower right, Gemini stamp with copyright, signed and dated by the artist
Finely drawn graphite and watercolor drawing of vertical lines and circular shapes.
Graphite drawing on paper of a tree; image has been intentionally blurred to create a mysterious effect.
The Meteor Hits Picasso's Bed from the Artists for Obama 2012 portfolio
Color photogravure on Somerset Velvet Radiant White paper, 44/150
One color photograuve on paper; lower left, edition statement 44/150; middle, title, signed and dated by the artist; lower right, Gemini stamp and copyright.
James Rosenquist, Galerie Nationale, Canada 1968
James Rosenquist, 1970, Leo Castelli, New York
Homophonia from the Suite, Lists
suite of four: .1) Ugly Duckling; .2) Liszt; .3) Liste/List; .4) Homophonia Kay Rosen's work represents a careful analysis of languages potential to act as both a visual and verbal medium. Rosen demonstrates this playful approach to language in her print series, Lists. In Ugly Duckling, Rosen focuses the viewers attention on an odd assortment of names taken from a section of the Gary, Indiana phone book. Another print, Liszt acts as a visual pun on the word list. It presents an inventory (or list!) of 19th-century pianist, Franz Liszts musical compositions. Through manipulating the appearance of text and playing with the aural components of language, Rosen brings to light subtle meanings that can be found within it.
Liste/List from the Suite, Lists
Ugly Duckly from the Suite, Lists
Sketch of female in long draped dress falling to the floor, head turned left as she prays.
Indication of installation (Milan)
Carbon paper and carbon on paper, metal/acrylic frame
In an effort to break the "habits" of her art school training, Dorothea Rockburne avoided canvas in favor of such mundane materials as craft paper, chip board, thin-gage metal, and carbon paper. Using familiar materials and mathematical systems (an influence of her studies with mathematician Max Dehn), Rockburne sought to make compositions which relied on natural order. For an installation at Bykert Gallery in 1970, Rockburne painted the wooden floors to match the walls upon which she traced the folded edges of carbon paper. The resulting ambiguity calls into question issues of composition, mark, and maker. The work on view is part of a related series, "Drawing Which Makes Itself."
Pencil on paper drawing; street light illuminating a group of figures and one moving toward them; lined with buildings.
Gift of Elena Siff Erenberg and Samuel Erenberg
Veglio Nerissimo (Poster for costume ball on theme of African...
"Log Flow" An installation by Sam Richardson
"Log Flow" an installation by Sam Richardson
Roel d'Haese, Dessins et Gravures
Poster "caption" continues "Galerie Claude Bernard, 5 Rue des Beaux Arts, PAris, 25 Octobre - 25 Novembre 1962
Autobiography from 1968 is a monumental and important work in many ways, and provides a classic and important statement by Robert Rauschenberg, arguably one of the most important American artist ever. The offset lithographic triptych records significant aspects of Rauschenbergs life at the age of forty-three, and was produced at a press founded by Rauschenberg, who was always interested in technology. He used a billboard pressthe first fine art print to be produced on this scale and using this printing mechanism. Autobiography begins with a print he had completed the year before at Gemini, Los Angeles: Booster, the x-ray of his own skeleton flanked with a wheel and an umbrella. Superimposed over the skeleton, Rauschenbergs astrological sign, Libra. The middle print includes a photograph of Rauschenberg with his parents on a boatback in Texasand the whorl of text around it references a fingerprint (referring to the self-portrait he sent to the New Yorker in 1964an image of his fingerprint) and consists of his c.v., listing the important events of his life and career. At the top is a listing of his three performances at LACMA. And another reference to waterthis time floating on itand all centered on the smiling face of a very innocent little boy. In the last image, Rauschenberg is performing in Pelican, his first big performance piecefirst done in 1963 in Washington DC. But this photograph is from 1965, in New York, from the First New York Theater Rallyan event that Rauschenberg had helped organize. Along the left is the Manhattan skyline; below are water tanks and above is a slice of a map of Port Arthur, TX, his home town. It is wonderful to note how appropriate that the piece features so prominently this performance, which grew out of Rauschenbergs involvement with Judson Dance Theatre. In this image of Pelican, Rauschenberg is literally skimming over the Gulf waters which lie off the coast of Port Arthur: the image of the map extends down and to the right, the full length of the print. He is sailing or skating or even flying. The imagery refers to where he lives, where he comes from, and combines all the arts. He is a living combine, a form of assemblage that Rauschenberg perfected. Rauschenberg permitted the triptych to be exhibited side-by-side but he preferred seeing it vertically as then the skeleton which has been dematerialized away floats above the other images, lighter than the umbrella and faster than the wheel. The art historian Tom Crow has a beautiful reading of Rauschenbergs imagery as always governed by gravitythe images are concerned with falling, or feeling the tug of the earth. This artwork was purchased with contributions from many community members to honor Professor of Art History and Director Emeritus, E. Bruce Robertson, on the occasion of his retirement. Robertsons longtime admiration for artist Robert Rauschenberg prompted the purchase. This includes Todd Anderson, Chester Battle, Winston Braun, Sue and J.W. Colin, Mehmet Dogu, Michelle Faust, Jocelyn Gibbs, Elyse Gonzales, Leslie Gray, Judi Haskell, Victoria Hendler and David Broom, Stu and Joan Levin, Susan Lucke, Kris Miller-Fisher, John Nava, Charles and Betsy Newman, Silvia Perea and Juan Heras, Paksy Plackis-Cheng, Donald E. Polk and J. Paul Longanbach, Karen Prinzmetal and James West, Ceil and Michael Pulitzer, Sudi Staub, Lisa Thwing, Carol Vernon and Robert Turbin, Sandy and David Wasco, Li Wen
Museum purchase in honor of Professor of Art History and Director Emeritus, E. Bruce Robertson
Lily Scent from Performing Arts Portfolio
lithograph on John Koller handmade paper
from Performing Arts Portfolio (1981), series of 8 color lithographs
A black and white image of three women standing on several American flags each wearing a crown similar to the one worn by the Statue of Liberty. The women appear to be laughing and holding square popsicles. Signed by the artist twice, once at the lower left and again at the lower right. Titled at the lower left and labled "1st ed." at the lower center.
A black and white image of a man's head and hands laying on the ground. The man's helmet is sliding off his head, his eyes are closed, and his hands appear limp. Titled at the lower left, "1st ed." appears at the center, signed by the artist at the lower right.